The fashion icon Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the previous decade, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

According to Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including openly discussed struggles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."